The spatial representations of the future musical teachers as a component of their musical thinking

Abstract

The work is devoted to the spatial concepts of a musician-teacher, which play an extremely important role in his musical thinking and are manifested in his multifaceted practical activity (the process of perception of musical phenomena, musical-performing and verbal-conceptual interpretation of musical works, improvisation, arranging, etc.). On these grounds, it is argued that an important task of higher art education is the formation of developed, conscious, systematically ordered, musical-spatial representations in future musician-teachers, which are capable of development, improvement and implementation in effective methods of pedagogical activity. The authors emphasize that the strategy for the formation of spatial representations of future specialists in music education should correspond to the heterogeneous nature and complex structure of musical space. On the methodological basis of the theory of deduction and conceptual modeling, relying on the provisions of modern philosophy, physics and psychology, a new theoretical model of spatial representations of a musician-teacher has been developed. The components of this model are: 1) empirical and theoretical representations of the objective (physical) space of the musical-sound form; 2) subjective (psychological) representations of the musical space. The class of psychological musical-spatial representations, in turn, is divided into three subclasses: a) perceptual spatial representations, determined by the specific physical properties of the sound source (frequency, duration, energy, composition of overtones, nature of amplitude changes) and the spatial environment (change in localization, reverberation, interference, etc.); b) illusory spatial representations (visual images of objects and processes of inanimate and animate nature, specific for the visionary perception of the musical-sound form); c) ideas about the conceptual space of the musical form (image of the pitch scale, imaginary intervals between tones, time distances between successive elements of the sound form, ideas about massiveness, depth of sound, relief and background, thematic and compositional structure of the tone, etc.). Specific spatial analogues of the last two planes of ideas are graphic means of recording the sound text and musically expressive gestures (cheironomy, conducting, eurythmy, etc.). It is argued that each of the identified components of the modeled holistic synthetic idea of the musical space involves the development of appropriate approaches, methods, techniques and conditions for training future specialists in the field of music education